juan crist贸bal cerrillo
flauta, oboe, clarinete, tromb贸n, viola, violonchelo, contrabajo y percusi贸n PARTITURA
Performance notes
- percussion
- pitch alterations as follows: - ascending and descending exactly by quarter tones: - rising and lowering inflections:
-
,
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- instruments employed - five pairs of small, slightly resonating small objects arranged thus:
5 4 3 2 1 1ʼ 2ʼ 3ʼ 4ʼ 5ʼ - vibraphone - snare drum - unspecified
sustain event for the indicated duration, generally duration is specified, ocasionally the duration in indeterminately long
ppp
snare on
1
snare off
2
change fingering, timbre variation sustain pitch, then alternate with other pitch itermittently 1 2
right hand
- dynamic markings
- score is transposed
- flute and oboe
left hand
ppp pp p mf
smaller markings indicate a subtle and rich variety of nuance within the general (large) dynamic level very subtle movement of the snare mechanism lowest level indicated is the position at which the snare does not respond to action on the membrane, space within limits should be a very unpredictable condition (continuously adjusted)
- viola, violoncello and contrabass
slow intermittent fingering alternation
half harmonic pressure fingering harmonic pressure fingering
- clarinet
one down or up bow exactly throughout specified duration tone quality from weakest (most difuse) to fullest two staves are employed to differentiate between bowing rhythm and pitch rhythm
- trombone very vague sound (mostly air) yet distinguishable in relative pitch, respectively: high, middle, low. very precise duration (sharp attack and cutoff) same as above, with smooth “pitch” transition
pont. tasto. 1/2 pressure
bow movement parallel to the string within the specified range and with the specified rhythm, lateral movement should be minimal, lower staff indicates fingering
Flute
Oboe
Clarinet in Bb
Trombone
e = 80
5 4 3 2 1
Viola
Contrabass
8
1 2 3 4 5
p
7
mp
pp
7
ppp
p
pp
mp
pp
mf
pp
mp
ppp
mp
pp
pp
throughout, small dynamic markings indicate variation within the general ppp dynamic, to be rigurously intended in execution
mf
pp
ppp
7
mp
mp mf
mf
mf
mp
7
mp
mf
ppp
mp
ppp
mp
mf
pp
mp
ppp
mp
mp
ppp
7
pp
pp
mp
mp
7
pp
pp
pp
mf
mf
mp
pp
7
mp
mf
mf
pp
pp
mp
ppp
mp
ppp
mp
mp
mf
mp
pp
ppp
mp
7
p
mf
ppp
ppp
growing in intensity with extreme slowness to a level just above inaudibility
pp
mp
p
mf
pp
Perc.
mp
ppp
pp
15
Cl.
mp
Perc.
5 pairs of slightly resonating small objects producing 5 distinct delicate sounds, or five pairs of varied instruments (metal, glass or wood)
ppp
juan cristóbal cerrillo (2008-09)
(estación violenta)
e = 80
delicate and precise, always soft sounding, almost barely audible, with minimal movement
Percussion
Violoncello
siempre otra cosa
mp
pppp
immobile, beaters on instruments, static as if interrupted
cutting off sound immediately and abruptly once percussion resumes
breathy sound, barely audible pitch
pppp
continuing suddenly, undisturbed
pp
ppp
ppp
mp
p
mp
mp
mf
pppp
pp
mp
mp
ppp
7
mp
pp
pp
mp
pp
pppp
7
pp
mp
pp
mp
mf
mp
pp
ppp
mp
2
murmured, distant
2
1
22
Fl.
unclear sound throughout section 3
ppp
3
hesitant, irregular and short alternations
Ob.
murmured, distant
mf
Perc.
ppp
7
mp
ppp
mp pp
1 2
ppp
3
3
ppp
as long as possible
ppp
2
rough 3
mp
1
ppp
ppp
ppp
3
2
3
Vla.
mp
p
mp
pp
7
mf
p
mf
mf
very slow bowing (strictly one downbow) pp
very slow bow
Vc.
pp
Cb.
approx. fingering
bow rests on string, immobile
pp
ppp
very unstable harmonic ideally sounding pitch around
3
pp
ppp
3
pp
ppp
very slowly
2
ppp
1
ppp
mf
ppp mp
attack and cutoff as before always air 3 3 3
p
mp
p
ppp
pp
slightly prominent. gradually growing in assertion and distinctiveness
pp
mp
p
3
pp
3
ppp
p
pp
7
pp
7
pp
mp
p
3
ppp
p
mf
pp
3
7
1/2 pressure
ppp
mp
minimal lateral bow movement 3 3
mp
p
ppp
tasto.
mf
3
ppp
mp
p
III.
3
3
pont.
2 3 4 2 3 4 C
4 2 3 4 CB
ppp
p extremely precise duration t. (sharp attack) d. (sharp cutoff)
d.
t. 3
air
3
ppp
Tbn.
ppp
Cl.
1
4 D#
bisb. irreg. lento
ppp 5
unclear sound, murmured, distant 3
2
3 4 2
7
7
3
23
30
Fl.
Ob.
4 2 3
ppp
3
Tbn.
mf
ppp
Perc.
mf
mp
Vc.
Cb.
mf
ppp
p
pp
3
pp
mf
pp
pp
mf
7:4x
ppp
7:4x
exact durations
gliss.
3
pp
3
3
2
1
pp
3
1
2
2
pp
3
3
pp
3
p
pp p
mp
mp
7
4 2 3 4 CB
t.trill slow and irregular
pp
2
CB
very slow bowing (strictly one downbow) ppp
7
ppp
fuller tone
p
4:5
mp
p
pp
7:4x
3
1/2 pressure
pp
pp
6:5
ppp
7:4x
p
mp
4:3
Vla.
ppp
ppp
pppp
Cl.
3
bisb. irreg. lento 1 2
3
ppp
3
p
3
ppp
pp
mp
pp
ppp
ppp
ppp
mf
mp
p
bow rests on string, immobile
3
pp
mf
pp
mp
p
mf
mp
7
3
pp
4
bisb.
37
Fl.
1 2
3
Ob.
Cl.
Tbn.
pp
3
pp
3
mf
pp
ppp
Perc.
mf
Vla.
ppp
7
ppp mf
mf
pp
pp
ppp
Cb.
ppp
3
pp
p
7
3 3 p
A B
D#
pp
pp
pp
3
3
2 3 4 2
3
p
ppp
mf
ppp
mf
7
pp
mp
stop tasto. abruptly
ppp
p
mf
ppp
mf
ppp
p
pp
7
pp
mp
ppp
pp
ppp
mp
pp
7
7
continuing
suddenly interrupted, imobile
pp
3
pp
suddenly interrupted, imobile
3
pp
1/2 pressure
pp
6:5
pont.
Vc.
pp
ppp
D#
D#
ppp
slowly
3
3 4
ppp
3
4 2
ppp
pp
pp
mp
3
ppp
7
3
pp
ppp
p
pp
3
fullest tone
ppp
1 2
3
pp
3
bisb.
3
3
pp
6:5
5
3
45
Fl.
4 2
Cl.
3
pp
ppp
3
p
3
pp
p
ppp
ppp
3
pp
pp
3
pp
pp
Tbn.
dim.
mp
ppp
pp ppp
ppp
ppp dim.
Perc.
mf
Vla.
pp
mf
ppp
ppp
mf
pp
pp
3
3
pp cresc.
3
mf
mf 3
mp
cresc.
Vc.
mf
almost only gestures
mp
6:5
Cb.
3
ppp
pp
Ob.
3
3
A3
ppppp
ppp mf
5
3
mf
mf
mf
mf
pp
mf
3
5
3
5
6 h=e e = 20
Ob.
very softly, plain 54
p
mf
Fl.
Ob.
Cl.
Vc.
mf
mf
as long as desired, still
extreme pont.
as long as desired, still
pppp
as long as desired, still
(not on beat, after oboe)
pppp
sustain as stable as possible
(not on beat, after oboe)
sounding within this time frame (any length)
mf
very unstable harmonics emerge, fleetingly
extreme sul tasto
3
55
pppp Cb.
ppp
pppp
Vla.
extremely light bow pressure. fast movement
( )
mostly bowing sound
Cb.
3
5
5
Vc.
*) caesura continously varied, can be imperceptibly short (but always felt) or long, always occurring as an interruption of the duration (as suggested by the dark line), beggining of pitches occur always as a steady pulse. Notated durations and interruptions are only a suggested possibility to be freely modified so that the negative space created by the interruptions emerges as the foreground.
Vla.
as long as desired, still
pppp
7
*)
56
Fl.
Ob.
Tbn.
p
f inexplicably loud
p
p
f inexplicably loud
p
*) Cl.
p
p *)
f inexplicably loud
Perc.
*)
Vla.
Cb.
one bow only, slow
p
*) duration of pitch to be determined by the player, the dark line indicates the approximate maximum possible duration for each pitch, section should be steady in pulse and rich in subtle variation.
p
f inexplicably loud
*)
p
f inexplicably loud
*)
Vc.
p
8
57
Fl.
Ob.
Cl.
Tbn.
Vc.
Cb.
Perc.
Vla.
9
K e+ x = h h =15 as if nothing happens
58
Fl.
Ob.
3
Tbn.
Perc.
3
vib. m. off
Vc.
Cb.
pp
3
3
3
3
3
3
3
pp
mute?
5
pp
(
)
as soft and as long as possible (if possible)
3
3
ppp
3
pp
5:4q
pp
4:5h
3
pp
4:5h
pp
II.
Vla.
3
5
3
3
3
pp
pp
3
Cl.
3
3
6:5
3
3
5:4
3:2
pp
4:5h
3
pp
3
5
10
62
Fl.
Ob.
Cl.
Tbn.
Perc.
3
5:4q
Vc.
Cb.
3
3
3
3
5:4
3
4:5h
3
3:2h
3:2w
3
5
3
3
5
3
3
(
3
)
3
3
4:5
3 3
softly growing in pressence (increase bow pressure gradually)
3
pp
3
pp
pp
pp
3
pp
5
pp
Vla.
3
11
66
Fl.
3 3:2w
3
3
3
6
pp sub.
mp
Ob.
Cl.
Tbn.
Perc.
Cb.
3
3
Vc.
Vla.
3
3
3
3
3
3
3
3
6
pp sub.
3 6
pp sub.
mp
mp
pp
3
mp
3
3
3
3
3
3
3
3
pp sub.
12
70
Fl.
Ob.
Tbn.
Perc.
6
3
3
(
5
3
3
4:5
6
6
3
3
5
6
6
6
6
6
pp
6
6
Vc.
3
4:5
)
6
Cb.
6
Cl.
Vla.
6
6
13
6
6
6
6
74
Fl.
6
6
Ob.
Cl.
Tbn.
Perc.
R.H. L.H.
Vc.
Cb.
6
6
3 3
3
3
6
6
6
3 3
3
6
3 pp
3
3
3
3
6
6
3
6
6
3 3
3
pp
snare drum: very loose membrane, unsharpened pencils or similar objects always on mambrane, apply pressure continuously but move only during the specified duration, snare off
3 softly yet prominent
Vla.
6
6
3
3
6
6
6
14
Fl.
Ob.
Cl.
Tbn.
Perc.
Vla.
Vc.
Cb.
h. = 15 (4 sec.)
78
h. = 15 (4 sec.)
snare on snare off 3
5:4x
3 5:4x
5:4x
15
h. + e. = h h = 12 (5 sec.) steady
81
Fl.
3
3
Ob.
3
again, softly, distant presence
3
3
3
again, softly, distant presence 3
Cl.
Tbn.
mf
Vc.
Cb.
3
3
again, softly, distant presence
3
3
3
3
3
3
3
again, softly, distant presence
abrupt stillness
abrupt stillness
3
abrupt stillness
abrupt stillness
abrupt stillness
same ad. lib. gradually more sparce
tap fingerboard
III.
( )
II.
again, softly, distant presence
I.
3
3
3
3
wood block
3
Vla.
3
again, softly, distant presence
3
again, softly, distant presence
Perc.
IV.
( )
abrupt stillness
abrupt stillness
abrupt stillness